Tag: Medium-Size Picture

The focus of Dara’s current works are flowers and on this particular new painting the bloom has the look of a shapeshifting solar crystal ball that carries all sorts of mysteries and secrets. It looms high above oval multicolored leaves and thin stems that are solidified by streaks of different colors. All these features add up to a magnificent depiction of nature that seems to be part of a splendid fantasy world.

This is a repost of a painting that was posted first two years ago. This time the colors on the image are closer to their appearance in real life – contrary to the opulence of the painting last posted, this painting belongs to a line of work by Dara that strikes with its simplicity. Its different sections look like cutout paper pieces that are put together as if to illustrate a view from a window whose sill is decorated with rose petals. As with other paintings in this style Dara experiments with the combination of different surfaces and underlines their stark difference with the crude manner in which they are joined together.

Dara created this music-themed abstract painting in 2010. The conceptual framework is the slow Dissipation of things and their absorption into the past which is symbolized by the pink color that seems to slowly peel off from the canvas showing the green background. The same line of thought may apply for the golden line that horizonzally runs with an interruption through the painting. Together with the sparse circles it looks like the remains of a notation. Yet the remaining traces seem to emanate an even greater impact than the one they would have in their original preserved shape which also points to the power that memories can have, especially if they are connected to music.

On this painting from 2008 Dara explores a differential spatial distribution of circular elements. Voluminous circles serve as the background for a gathering of colorful micro-circles that becomes increasingly dense towards the painting’s center. In spite of the loose and playful arrangement that does not seem to follow strict formal rules the painting deals with the theme of contrasts between large and small circles, the center and periphery, watery vs. strong coloration and the exciting visual effects that result from the overlappings of the eclectic elements. Dara Zindovic (2008): Untitled, acrylic on cotton paper, 57 cm x 75 cm / 22,44“ x 29,53“

These two paintings are a tribute to Venice. The focus shifts from the mere presentation of a complex city landscape to the interesting interplay of the town with the expansive, endless sea. The works highlight the beauty of the city and also deal with the city’s precarity by being located next to the sea. The sea itself has the role of an amorphous dominant force that must be contained from drowning the treasures of the town, but on the other hand also has a complimenting role as a canvas that reflects the sparkling city lights.

Wow, what a tornado of impressions! The works presented in this posting belong to some of the most complex compositions Dara has ever made. On them countless fragmentary units are joined together to form a larger, highly differentiated polychromatic entity. The paintings may be seen as an artistic memory of her old hometown Dubrovnik. Like many coastal towns that rest on hills its famous view is characterized by ascending rows of houses. On the paintings the structure of the towering elements is raw, wild, unruly, chaotic, there is no consideration of a planned and linear orderliness as is usual in town planning. The bits and pieces appear more like tags arbitrarily applied on a wall and are put together in a collage-like manner. The works show an appreciation for urbanism, fragmentation, density and the sparks that fly out of such a lively mixture.

Created in early 2014 this triptychon by Dara celebrates the richness of earth. The vast brown surfaces on the paintings are surrounded by different sectors in warm colors that are divided both in vertical and horizontal manner. The outlines of the different parts are winding and curved which is an acknowledgment of provisionality, incompleteness and imperfection. The winding contours are also a symbol of sensuality, a quality that is reinforced by the reappearance of the motif of the golden line to which an own series of paintings has been dedicated. The triptychon anticipates later works that deal with the Sahara desert or present otherworldly arrangements against a sequence of soft and mellow colors. Some of the latter mentioned works are currently on display at the art bv Berchtoldvilla Salzburg. Since each part of the triptychon can stand as a work in its own right, we will publish each painting in an own posting.